The Anne & Gordon Samstag International Visual Arts Scholarships

samstag

2004

University of South Australia

samstag

The 2004 Anne & Gordon Samstag International Visual Arts Scholarships

Guy Benfield

Louisa Bufardeci

Julie Henderson

TV Moore

Simone Slee

Tim Sterling

samstag2004

Foreword

e are delighted to here present the recipients of six, 2004 Anne & Gordon Samstag International Visual Arts Scholarships, awarded by the University of South Australia on behalf of Gordon Samstag’s trustee, Bank of America Private Bank, Florida, USA.

Like a slow zoom to a distant, horizon object, the Samstag Scholarship grows ever larger into view, as time reveals the true dimensions of Gordon Samstag’s vision. It is not just the statistics, though these are impressive; this twelfth generation of Samstagers, for example, brings the tally of scholarships awarded since the program’s establishment to a remarkable ninety-three.

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Guy BENFIELDLP Werk (Pais Tropical) 2002still from video, duration 7 minutes

Rather, it has emerged more clearly with hindsight, that sending Australian artists off on well-funded, educational adventures overseas, while also requiring their commitment to full-time institutional study, is wise policy; it has ensured that these fortunate individuals are securely embedded in a nurturing grid of mentors, colleagues and support systems – a creative milieu, as distinct from the isolated disconnectedness of an overseas studio, flying solo. Mr Samstag’s scheme is prescient.

Meanwhile (back to the zoom) the Samstag artists are researching, developing, maturing, their future cultural impact inestimable.

Our catalogue this year introduces a small innovation, the DVD insert. With half of our scholarship recipients presenting performative work in digital and video formats, we thought it time, perhaps, to acknowledge the growing shift towards technology-based mediums, so widespread among a new generation of visual artists. And we enthusiastically welcome the insightful reflections on all this by our 2004 catalogue essayist, poet and visual arts writer, Ken Bolton. Poetry and art are old friends, and the relationship between artist and poet, venerable. We are delighted to give this tradition some life, here, through such a special and distinguished voice as Ken’s, an Adelaide icon.

As always, we salute the work of our selection committee for this year’s Samstag Scholarships, Lauren Berkowitz, John Barbour and Professor Kay Lawrence, Head of the South Australian School of Art. It is always a fascinating pleasure when, after the many days of sustained reflection, scrutiny, debate and effort, a new generation of Samstag artists are revealed for our consideration.

Ross WolfeDirector, Samstag Program

Anne and Gordon SAMSTAGphotographed at Mamaroneck, New York, ca.1961

The Samstag Program

he Anne and Gordon Samstag International Visual Arts Scholarships were established in 1992 through a remarkable bequest by American artist Gordon Samstag, who taught from 1961 to 1972 at the South Australian School of Art, now a part of the University of South Australia.

Mr Samstag’s will provided substantial funds for awarding, annually, a number of scholarships to enable Australian visual artists to “study and develop their artistic capacities, skills and talents outside of Australia”.

His gift ranks as the most unique bequest made expressly for the development and education of Australian visual artists, and it is also, most probably, the greatest. Samstag Scholarships – presented through the South Australian School of Art – pay for all the costs of twelve months of overseas study, including provision of a particularly generous stipend, return airfares and institutional study fees.

An American citizen, Gordon Samstag was born in New York City on 21 June 1906, and studied at the New York Art Students League before continuing his studies at the Academie Colarossi in Paris. A 1981 exhibition at the Wichita Art Museum, The Neglected Generation of American Realist Painters 1930-1948, confirmed his status as an American social realist painter of significance. His work is represented in the Toledo Museum, Ohio and the Sheldon Swope Gallery, Indiana. There are also public murals painted by Samstag (commissioned by the Roosevelt Administration’s Treasury Department Section of Painting and Sculpture) at post offices in Reidsville, North Carolina (1938) and Scarsdale, New York State (1940).

Following retirement, the Samstags lived for a while in Cairns, Queensland, before settling in Naples on the west coast of Florida, where Gordon died three years after Anne, in March 1990, at the age of 83.

Research continues into the lives of Gordon and Anne Samstag.

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New Brew: Export Quality Six-Pack

Ken Bolton

he Anne & Gordon Samstag International Visual Arts Scholarships are unique in Australia: a small crop of artists is annually given the means to study overseas. Any artist who has successfully completed study within the last five years at an Australian art institution is eligible to submit an application – showing relevant recent work, a description of the courses they would seek to attend and an account of that course’s prospects for their own further development.

This would seem to favour artists with the five years’ experience over the graduate of last week, and to favour still more the post-graduate, though it does not always do so. The extra maturity and the more extensive body of work do mean that the artists are rarely fledglings. They have work to show, have already spent considerable time developing their ideas and practices – in the ‘real world’, outside institutions and the timetabled continuum that institutions reinforce.

The ‘pre-Op’ training gives them grounds for confidence and the impetus of a direction to their work. Arriving thus, they are the more able to forge connections with overseas galleries, curators and with other like-minded artists. It is more difficult to approach galleries or gain others’ notice with nothing to show.

Samstag is unintendedly also a kind of Australian cultural diplomacy. The presentation of Australian art overseas is not the Samstag system’s purpose but must be regarded as a useful side-effect: talented and interesting younger Australian artists turn up, courtesy of the Samstag munificence, at important art schools overseas with some regularity and naturally communicate something of Australian ideas and perspective when they do so.

The Samstag alumni are also an interesting sample of new Australian art’s preoccupations and modes at any one time. Again, this is not its purpose – it is not a survey, instructed

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to represent and reflect concerns, activities, modes – but in aggregate it might constitute a very telling selection. And, to the degree that it focuses on originality and promise (not representativeness), it will likely be found to have been quite prescient. In the long run, history – art history, too – is a history of winners: if these are successful artists they will shape that history more than the merely typical.

Three of the artists present videos that mark out something of a spectrum of video types: Julie Henderson’s focus is on simple repetitions, repertoires that constitute poetic metaphors for, or analogues of, psychic states – the camera typically focusing on just a gesture or move, not even including the whole body of the performer. Guy Benfield’s works involve, and to a degree ‘feature’, elaborate sets and decor. Benfield shows what might be thought ironised demonstrations of artistic endeavour. TV Moore’s videos relate less than the others to canonical performance practice and resemble video clips or short, emotional movies. These are large scale multi-channelled videos for purpose-built installation settings, working repetition of single narrative moments or tropes and employing musical soundtrack.

TV Moore’s Dead Zone videos, which the viewer sees, one on his or her left, the other on the right, show a figure running, staggering through a city. Empty streets presumably shot in the early morning. The figure is barefooted and stumbles repeatedly, always nearly losing balance, and turns regularly to look over his shoulder at his (implied) pursuer. One video follows his progress, effectively constituting the pursuing point of view. The other would have been

filmed retreating before the staggering runner, but is projected in reverse, so that the figure retreats and the oddness of his gait gains a vulnerable, awkward grace and the viewer gains a great intimacy with it, noting characteristic strengths and flexibility, the slightness of the figure and the dance-like quality of the movements.

Moore’s Neddy series (which deal with aspects of the Ned Kelly myth) allow the viewer greater distance: but they are extraordinarily affecting distillations of aspects of the story and its resonance: bravura, foolhardiness, iconicity, idealized recklessness in the case of The Wild Colonial Boy and, in Burn Out, beautiful elegy. Both are shot such that one half of the screen is mirrored on the other half

TV MOOREThe Neddy Project (Wild Colonial Boy) 2001-2003still from videoduration 3.26 minutes

– like a Rorschach blot: so half a standing, prancing Kelly figure doubles into one fully, but oddly moving, two-legged figure at centre screen. A small horse and rider (rider on hobby horse) rides out in the background balanced exactly by its mirror-imaged counterpart moving in the other direction. Kelly appears to be doing karaoke (or hairbrush singing, using a torch for a mike): which seems an equivalent for our identification with the lawless hero and Ned’s possible sense of audience.

Burn-Out really does consist of watching the campfire (two, because they’re mirrored, duplicated) burn down. The symmetries (of fires, curling smoke and arched trees) are very beautiful. Kelly is evoked through the briefest appearance of the two horsemen cantering/cavorting just once between the trees: either members of his gang or the searching police party. They suggest innocence and futility, even the innocence and futility of the police: Australia as site of infinite, farcical repetition.

Guy Benfield‘s videos enact perversely didactic demonstrations of counter-intuitive actions, that can read as metaphors or allegories for romantic conceptions of art-making. They use stylized 60s/70s period-style sets and mise en scène. The conceptions of art they deal with seem those of that period’s avant-garde and in their extremism and single-mindedness can still seem sacrosanct. Part of the work’s operation is to shrink, miniaturize, condense the tradition as it re-animates it: a work of summation and summary. A ‘wrong-end-of-the-telescope’ effect is brought about partly through the use of sets and video: these are performances captured, already in a past – facts beyond our reach, which we can witness but no longer affect.

Of course the case is as much the opposite: the video is the art, includes within it these distancing effects for our judgement, these being part of the video’s meaning not part of its ontological status. But Benfield’s works are uncannily able to have it both ways and to enjoy the tension and instability of the relation.

At least three ineradicable clichés or truisms about art and life are tested: Universal Love Action has a couple working together, agonistically climbing the walls of their apartment to do so. So, with much undulant reaching and wrenching, they ‘make art’ together: from various vantage points they drip paint onto a canvas. Art and passion?

Guy BENFIELDFrench Pup / live action 2001still from video, duration 14 minutes

French Pup / live action has a long-haired guitarist dip his guitar in paint and smear the walls and flick paint from the guitar‘s head (also onto a canvas), bang the guitar against the surface: to make art, and much electric feedback. (Guitar solos are art, are ‘expression’, right?) Each of these videos ends with the work being exhibited to the camera: proof.

LP Werk (Pais Tropical) has a record player ‘do’ the art: a pencil is affixed and set to turning on the record spindle, while a guy holds the piece of paper inefficiently, but effortfully, in place using his toe to hold a piece of wood to which the paper is affixed. Shows finished work.

Their power derives in part from the successful conjuring of the (or a) tradition – and stems from the adequacy and persuasiveness of this re-animation. Benfield thus puts an argument, and attempts to demonstrate it – to fulfil, correctively, normatively, the brief of the form – and to extend it.

In contrast with the scenarios played out in Moore’s and Benfield’s videos – that is, narratives, demonstrations/tasks performed, and telling, near-climactic moments of implied narrative – Julie Henderson’s pieces tend to the fragmentary. In them action is repeated, the time might often be ‘real time’ – that is, not telescoped or compressed – but it might also be suspended, timeless, moments ‘out of time’. Henderson’s video performances treat areas of experience and cognition that are liminary or which shift undecidably between the subliminal and the conscious. The effect can be a resemblance to an image caught from a waking dream, an image which is tied firmly to a mood and is recognizable as having been

subject to unconscious attention and interrogation. The time of such pieces is that of prolonged attention, not that of recounting or syllogism.

Henderson’s works all deal with, and deal in, corporeal movement and notions of speed or pace. One class of these is made up of responses to a site or, as with the collaborations with Scottish artist Kevin Henderson, responses to another’s work. In these pieces the operation is more interpretative and the videos themselves focus less on a single image, are less fragmentary: they feature the performer’s body whole, framed in time and space. Again, they give analogues of states of displacement – or they seek to show such dislocation bridged, annulled.

Julie HENDERSONHigh Rise 2001still from video projectionDavid Jones Building, Adelaide

Simone Slee and Louisa Bufardeci are at the stage of shifting up a gear and employing a number of media: Bufardeci movingfrom two-dimensional wall pieces – to hoardings and interactive video animations, and Simone Slee from installation and the sculptural to performance-and-event, and billboard hoardings.

Simone Slee’s preceding work derived from the deployment of the body (her own) vis-a-vis space(s), time and objects. A performance orientation. Her major project since has been the On sequence of works. These develop from her background in design offices: a range of white-vinyl sculptural objects that are sculptures which combine to make installations and scenarios (for gallery, photo, poster, billboard). The objects (futuristic, clunkily reminiscent of hospital technology and science fiction) are, through their extensions, connectable. They blend the functional and non functional, confounding the usual

Simone SLEE‘On’ chamber 2002vinyl, foam, velcro and paintvariable dimensions

knowledge we have of objects. They are neither rational nor systematic but expressive of the presence of the body and of people’s psychological connections. They signal and induce interdependence, trust, dependence, care: mattresses with plug-in tubes, vests that connect, one to another – for sustenance, transfusion, feeding, help.

Best known are the images of Slee’s suits that reveal the vulnerable stomach. This is an interesting step from gallery art into ‘the social’, to enliven, activate, social norms and links. They inaugurate a form of ‘play’, with its abstraction of society and society’s reciprocity and conventions of trust and recognition and its innocence. The body suits also perform a levelling of the players (bracketing out their wider social role).

Louisa Bufardeci’s works seem initially, for a moment, like large paintings. But they are not. Bufardeci makes mostly digital prints (in effect maps and charts) that utilize various systems and investigate the colour-coding of visual information, statistical information.

Simone SLEE‘On’ the lawn 2002vinyl, foam, velcro and peoplevariable dimensions

The results are not subjectively derived, and not through usual symbolic convention. They have a bracing and arbitrary linkage – to social analysis, political economy.

These are not emotional and culturally embedded understandings of colour and form that underlie these ‘pictures’. This recognition is something of a shock and a challenge – a move away from colour as emotional index, and it relates more to a culture of technology, and analysis.

Initially we try to see them as conventional abstraction: the mistake and readjustment are part of our education, a heuristic device. The heavy lode of information gives these pictures’ coding

Louisa BUFARDECIExport Distribution 2002digital print60 X 110

an intensely powerful effect. Witness Export Distribution – full of diagrammatic urgency, part way between electric circuitry, the viral and patterns of force and movement.

These are wall-sized digital prints and, meanwhile, Bufardeci plans to move to animation with interactive components.

Tim Sterling’s work – intricately, meticulously, obsessively constructed – covers quite a spectrum: signification that ranges from the hot overload of Bomb to the ‘cool’ of the large transparent grid shown at Roslyn Oxley and at the EAF this year in the solo show, Trajectory. All invite the dual application of the viewer’s wonder and curiosity in tandem with an investigative, constructive imaginative engagement.

Tim STERLINGNot yet titled:1 2002mixed media100 X 100 X 100

In Trajectory, Sterling disposed a group of his pieces – to make more evident than hitherto their other, less formalist and more fictive function. These played on two spatial and architectural themes. One concerned office space and workaday utilitarian furniture and fittings: wastepaper bin, air-conditioning vent, filing cabinet. The other posited the childhood

space – and thereby the childhood ‘time’ – of playground and toys: a grid of bars to climb in and through. It would seem that they meant to overlay upon each other the one’s supposed innocence (freedom, reverie and play) and the other’s work-bound constraint and system. Which would make for a troubled, worrisome childhood – or a more mysteriously impish and feckless adult world. Or the suggestion of a continuum? The formal intricacy of the pieces’ construction served to divert us into the deeply but idly wondering gaze of a reflection that was both adult and childlike.

Bomb presented a kind of rebus – complete with surrogate viewer: the puzzling birds, two of them, that play at unravelling the piece’s unspooling cassette-tape ribbon, mimic an involvement that stands for ours and serves to induce it. The large cube (Not yet titled: 1)

Tim STERLINGBomb 2000mixed media100 X 100 X 100

functions – as did Sol LeWitt’s gridded sculptural permutations – to have our rational conception explain and inform our sensory inventory of the object and its identification or certification as grid, cube or whatever. (We see it when we believe it.)

Sterling’s pieces, though, through their fragility and transparency, require constant re-verification: gleams and reflections, temporary invisibilities or transparency, render them permanently unstable, evanescent. Around and through this impasse and engagement, a wider cloud of thought and feeling bleeds in.

Ken Bolton is a poet who writes often on the visual arts.

His most recent publications are Untimely Meditations

(Wakefield Press, 1997) and, as editor, Homage To John

Forbes (Brandl & Schlesinger, 2002). Ken Bolton works

at the Experimental Art Foundation in Adelaide.

Guy Benfield

The Essence of Ju Ju 2003video and installationvideo duration 13 minutes

Export Distribution (detail) 2002digital print60 X 110

Louisa Bufardeci

Julie Henderson

Striptease (entr’acte) 2003stills from video projection continuous loop

TV Moore

The Dead Zone: Part 1 (front view), and Part 2 (back view) 2003stills from videos, installation of two videos, duration 2.30 minutes

Simone Slee

‘On’ vest 2003vinyl, foam and velcrovariable dimensions

Tim Sterling

Not yet titled:1 (detail) 2002mixed media100 X 100 X 100

Guy Benfield

Born 1964, Sydney, New South Wales

2001 Master of Fine Art by Research, Royal Melbourne Institute of Technology, Melbourne 1999 Master of Fine Art by Course Work, Royal Melbourne Institute of Technology, Melbourne 1987 Post Graduate in Fine Art, Victorian College of the Arts, Melbourne

Awards 2004 Anne & Gordon Samstag International Visual Arts Scholarship 2001 Pat Corrigan Grant Arts Victoria, new work grant 1998 Australia Council, new work grant

Individual Exhibitions 2003 Brazilian Wax Museum, Gertrude Contemporary Art Space, Melbourne & Performances 2002 Universal Love Action, 1st Floor Artists and Writers Space, Melbourne 2001 Ode to the SuperQuick, Studio 12, 200 Gertrude Street, Melbourne French Pup/Live Action, Centre for Contemporary Photography, Melbourne 2000 Hiace Van/Live Action, Penthouse and Pavement Gallery, Melbourne Metal Theory, 1st Floor Artist and Writers Space, Melbourne 1999 Alcohol is my Enemy, Talk Artist Initiative, Melbourne Domestic Hardcore, collaboration with Tony Garifalakis, City Lights 2000, Melbourne Combination Soup Noodle, Canberra Contemporary Art Space Pole Play, RMIT Project Space (Gossard Building) RMIT, Melbourne All Animals are Full of Fluids, Canberra Contemporary Art Space 1998 Farm Art, Stripp Gallery, Melbourne The House of Multiple Cream, 19 Gallery, Sydney, and Temple Studio, Melbourne 1995 Foto-s, 200 Gertrude Street, Melbourne

Selected Group Exhibitions 2003 X Melbourne, Sydney College of the Arts, Sydney 2002 Australian Contemporary Art Fair, Gertrude Contemporary Art Space stand Love Stories, 1st Floor Artists and Writers Space, Melbourne We Don’t Charge for Looking, Block, Sydney Only the Lonely, Block, Sydney 2001 200 Gertrude Street Studio Artists Group Show, 200 Gertrude Street, Melbourne 2000 Paintings are Ace, Linden Arts Center, Melbourne Blink – Dreaming of Twilight, Australian Centre for Contemporary Art, Melbourne 1999 Artzine, 295 Spencer Street, Melbourne 1998 Bridge – Construction in Progress (Pile on Project), 187 Collins Street, Melbourne 1995 Rumble, Centre for Contemporary Photography, Melbourne Aerphost - An Australian Survey, Debtors Prison, Dublin, Ireland What Then, Annadale Gallery, Sydney House, a Trevor Smith project, Jellibrand Street, Canberra Collections Australian National Gallery, Canberra

Artists’ Biographies

Louisa Bufardeci

Born 1969, Melbourne, Victoria

1998 Bachelor of Fine Arts (Drawing), Victorian College of the Arts, Melbourne 1991 Bachelor of Education (Visual Art), University of Melbourne, Melbourne

Awards 2004 Anne & Gordon Samstag International Visual Arts Scholarship 2003 Asialink Residency Program, India 2002 Australia Council, Los Angeles Studio 1999 Pat Corrigan Grant 1998 Garry Grossbard Drawing Award, Victorian College of the Arts, Melbourne Individual Exhibitions 2002 The Unbearable Weight of Ordinary Things, 18th Street Arts Complex, Santa Monica, USA 2001 Cold Storage, Anna Schwartz Gallery, Melbourne ColourPhonics, Spare Room, RMIT, Melbourne 2000 Counter-play, Studio 12, 200 Gertrude Street, Melbourne The Art of Good Reasoning, West Space, Melbourne 1999 Another rounding of facts, Studio 12, 200 Gertrude Street, Melbourne “the comforting illusion” (the prey), Linden Gallery, Melbourne “the comforting illusion” (just remember this), Linden Gallery, Melbourne “the comforting illusion” (breathe), Linden Gallery, Melbourne 1997 fold, George Paton Gallery, Melbourne

Selected Group Exhibitions 2003 Feedback: Art, Social Consciousness and Resistance, Monash University Museum of Art, Melbourne

2002 When the lake froze over, Project Space, RMIT, Melbourne 2001 Artissima, Torino Esposizioni, Turin, Italy The Alice Prize Exhibition, Alice Springs First Floor Fundraiser, First Floor, Melbourne 2000 200 Gertrude Street Studio Artists 2000, 200 Gertrude Street, Melbourne The Pragmatics of Inscription, Linden Gallery, Melbourne Docklands, with Elizabeth Boyce, Glass Street Gallery, Melbourne Drawing – The Extended Field, Victorian College of the Arts Gallery, Melbourne National Works on Paper Exhibition, Mornington Peninsula Regional Gallery, Mornington A Matter of Distance, Linden Gallery, Melbourne 1999 A4 Art, West Space, Melbourne Overview, Linden Gallery, Melbourne Make it Yourself, 200 Gertrude Street, Melbourne National Works on Paper, Mornington Peninsula Regional Gallery, Mornington Who’s afraid of the avant-garde? Who cares? tbc, Melbourne system*, Linden Gallery, Melbourne 1998 Intended for the Gerneral Public, Myer windows (Melbourne International Festival),

Melbourne Syntax of the Real, Victorian College of the Arts Gallery, Melbourne Post-Postcard Show, Linden Gallery, Melbourne Summer Salon, Centre for Contemporary Photography, Melbourne 1997 Red, West Space, Melbourne Walkerville, George Paton Gallery, Melbourne

Julie Henderson

Born 1958, Adelaide, South Australia

2001 Master of Visual Art (Research), University of South Australia, Adelaide 1996 Bachelor of Visual Art (First Class Honours), University of South Australia, Adelaide 1994 Diploma of Applied and Visual Arts, North Adelaide School of Art, Adelaide 1978 Diploma of Education, University of South Australia, Adelaide

Awards 2004 Anne & Gordon Samstag International Visual Arts Scholarship 2001 Australia Council, New Media Arts Fund, project grant ArtSA, project grant 2000 ArtSA, project grant 1999 Australian Post Graduate Award, Scholarship for Master of Visual Arts 1998 Australia Council, emerging artists grant 1997 ArtSA, Art in Public Places grant Helpmann Academy Grant 1997 Enricho Cecchetti Classical Dance Scholarship

Selected Exhibitions 2003 cipher, installation Nexus Cabaret Window Gallery, Adelaide Spin, Art Gallery of South Australia, Adelaide International Film Festival 2002 Shortfall (thetic passage) in Installation Stills, Contemporary Centre for Photography, Melbourne 2001 25 Songs, Choreography and Dance performances, Graz, Austria; Shanghai, China

(collaboration with Joe Felber and composer Elliot Gyger) tamingpresentense, video/sound installation, 220 Hindley Street, Adelaide stirringstill, video/sound installation, Royal Adelaide Showgrounds in Winterbodies, MVA

graduate exhibition 2000 Shortfall (thetic passage) in Installation Stills, Contemporary Art Centre, Adelaide Undercurrent: 3 times Elevated & Scale Inversion, video projections in High Rise with Caroline

Farmer, façade of David Jones Building, Adelaide Between the eyes Evil Shaved, Series of six collaborative performances with Kevin Henderson,

Experimental Art Foundation, Telstra Adelaide Festival 1999 Stumla 11, sound installation, 5th Baguio International Arts Festival, Philippines Bracket/ellipsis in Some Fictions, North Adelaide School of Art Gallery 1998 Hi(d)e in HindSite, temporary installations, Adelaide Festival of Arts 1997 HindSite – First cont(r)act, Performance/collaboration with Anne Walton and Caroline Farmer Duende, sound installation Test Sites, Experimental Art Foundation, Adelaide

Collections Torrens Valley Institute of TAFE, Tea Tree Gully Campus, Adelaide

TV Moore

Born 1974, Canberra, ACT

1999 Bachelor of Visual Arts, Sydney College of the Arts, University of Sydney

Awards 2004 Anne & Gordon Samstag International Visual Arts Scholarship 2003 NAVA Marketing Fund 2001 Australia Council, new work grant 1998 ANAT, conference grant to attend Polarcircuit at the University of Lapland, Tornio, Finland

Individual Exhibitions 2003 The Neddy Project, National Museum of Australia, Canberra 2001 The Brian Monologues, Imperial Slacks, Sydney 2000 Urban Army Man, Artspace, Sydney Talking Trash with Olsie, Performance Space, Sydney Sound matters, Grey Matter Contemporary Art Gallery, Sydney Urban Songs and Videos, Canberra Contemporary Art Space Video Sweet Video, 132 Gallery, Sydney

Group Exhibitions 2002 Helen Lempriere Travelling Art Scholarship Exhibition, Artspace, Sydney Love, Casula Powerhouse, Sydney Is It All Over Mad Max?, Scott Donovan Gallery, Sydney Office Space Video, Mori Gallery, Sydney 2001 Primavera, Museum of Contemporary Art, Sydney Welcome to Junkiesville, Casula Powerhouse, Sydney 2000 Helen Lempriere Travelling Art Scholarship Exhibition, Artspace, Sydney 18 is Enough, Imperial Slacks, Sydney Nostalgia for Obsolete Futures, Imperial Slacks, Sydney 1997 Factory Sell Out Show, Herringbone Gallery, Sydney The Last Show, Herringbone Gallery, Sydney Video Performance, Sydney College of the Arts Gallery, Sydney Audio Stretch, UTS Gallery, Sydney National Student Film & Video Competition, Chauvel Cinema, Sydney The Last Show, Herringbone Gallery, Sydney

Collections The Australian Centre for the Moving Image, Melbourne

Simone Slee

Born 1965, Horsham, Victoria

2002 Masters in Fine Art (Research), Royal Melbourne Institute of Technology, Melbourne 1995 Bachelor of Fine Arts (Sculpture), Victorian College of the Arts, Melbourne 1988 Bachelor of Applied Science (Landscape Architecture), Royal Melbourne Institute

of Technology, Melbourne

Awards 2004 Anne & Gordon Samstag International Visual Arts Scholarship

Individual Exhibitions 2002 On, Project Space, RMIT, Melbourne 2001 Activities, Mass Gallery, Melbourne 2000 Form connotes action (2), Westspace, Melbourne 1999 Fig. 2., Spare Room, Project Space, RMIT, Melbourne 1997 Fig. 1, 200 Gertrude Street, Melbourne 1996 Simone Slee, 1st Floor, Melbourne Spill, Canberra Contemporary Art Space Group Exhibitions 2003 Orifice, Australian Centre for Contemporary Art, Melbourne Paper Cuts, Monash University Gallery, Melbourne X Melbourne, Canberra Contemporary Art Space, ACT;

and Sydney College of the Arts Gallery, Sydney 2002 Fold, Craft Victoria, Melbourne 2001 low-down, Recent Acquistions, Monash University Gallery, Melbourne Transitions, Project Space, RMIT, Melbourne 2000 Pulp, Project Space, RMIT, Melbourne Blink, Australian Centre for Contemporary Art, Melbourne; Plimsoll Gallery, Hobart A Compost History of the St Kilda Botanical Conservatory, St Kilda Botanical Gardens, Melbourne 1997 Station Proforma, Fringe Festival, Stop 22, Melbourne Nil, Stripp, Melbourne 1996 Swim Fund Raiser, Project Space, RMIT, Melbourne Space, RMIT, Melbourne Working in Collaboration, The Next Wave Festival, West Space, Melbourne Secret Archives, Platform 2, Melbourne 1995 Steam, Fringe Festival Salon, The Ballroom, Melbourne Amanda Ahmed, Megan Marshall, Simone Slee, 1st Floor, Melbourne Drawing, Victorian College of the Arts Gallery, Melbourne 1993 Figurative Sculptors, Victorian College of the Arts Gallery, Melbourne Collections The Monash Collection, Monash University, Melbourne

Tim Sterling

Born 1973, Adelaide, South Australia

1999 Bachelor of Visual Arts – Honours 1st class, University of South Australia, Adelaide 1998 Bachelor of Visual Arts, University of South Australia, Adelaide

Awards 2004 Anne & Gordon Samstag International Visual Arts Scholarship 2001 Pat Corrigan Grant 2000 Helpmann Academy, project grant

Individual Exhibitions 2003 Trajectory, Experimental Art Foundation, Adelaide

Group Exhibitions 2003 Z, Roslyn Oxley 9, Sydney 2002 Fantasia, 200 Hindley Street, Adelaide 2001 Forming Flight, pig (200 Hindley), Adelaide Wallpaper Fables, Contemporary Art Centre of South Australia, Adelaide gleam, The Physics Room, Christchurch, New Zealand 2000 gleam, Experimental Art Foundation, Adelaide hatched 2000, Healthway National Graduate Show, PICA, Perth ..periphery.., Top Floor, Adelaide 1997 Maestros & Apprentices, Helpmann Academy Art Auction, Adelaide Premature Ejaculation, Mad Love Gallery, Adelaide

2004 Guy Benfield; Louisa Bufardeci; Julie Henderson; TV Moore; Simone Slee; Tim Sterling 2003 Rebecca Ann Hobbs; Anke Kindle; Maria Kontis; John Meade; Callum Morton Simon Pericich; Samantha Small 2002 Renato Colangelo; Sarah Elson; Mathieu Gallois; Annie Hogan Timothy Horn; Astra Howard; Darren Siwes; Daniel von Sturmer

2001 Christine Collins; Shaun Gladwell; Glenys Hodgeman; Anne Kay; Fassih Keiso; Linda Marrinon; Archie Moore; Rea; John Spiteri; Paul White

2000 John Harris; Károly Keserü; Marco Masci; David Ralph; Elvis Richardson; Sally-Ann Rowland; Troy Ruffels; Paula Wong

1999 Peter Alwast; Stephen Bram; Kristian Burford; Nicholas Folland; Paul Hoban;Hanh Ngo; Deborah Paauwe; Matthew Warren

1998 Craige Andrae; John Derrick; Christopher Howlett; Shaun Kirby; Anne Walton

1997 Zhong Chen; Rozalind Drummond; Julie Gough; Steven Holland; Lyndal Jefferies

1996 John Kelly; John R. Neeson; Nike Savvas; Kathy Temin; Angela Valamanesh

1995 Mehmet Adil; Marika Borlase; Catherine Brennan; Kate Daw; Ruth Fazakerley; Susan Fereday; Matthÿs Gerber; Marcia Lochhead; Sue Saxon; Lucy Turner; Megan Walch

1994 Lynne Barwick; Michele Beevors; Matthew Calvert; ADS Donaldson; Sarah Lindner; Anne Ooms; Robyn Stacey; Carl Sutherland; Paul Uhlmann; Anne Wallace

1993 Shane Carn; Robert Cleworth; Sally Cox; Mark Hislop; Jacqueline Hocking; Nigel Jamieson; Ruth McDougall; Sally Mannall; Ruth Marshall; Roger Noakes

Samstag Scholars

Samstag: The 2004 Anne & Gordon SamstagInternational Visual Arts Scholarships

New Brew: Export Quality Six-Pack, by Ken Bolton

Published by:Samstag ProgramUniversity of South AustraliaGPO Box 2471AdelaideSouth Australia 5001

Telephone: (08) 8302 0865Facsimile: (08) 8302 0866International: +(618) samstag@unisa.edu.auwww.unisa.edu.au/samstag/

Director: Ross WolfeAdministrative Assistant: Jane Wicks

Copyright © Samstag Program, the artists and Ken Bolton, 2003All rights reserved. This publication is copyright. Apart from any fair dealing for the purpose of private study, research, criticism or review, as permitted under the Copyright Act, no part may be reproduced by any process without written permission

ISBN 0-86803-536-X

Graphic design by David Zhu at fusion.com.au DVD produced by fusion.com.auReprographics and printing by Finsbury PrintingScanning by The BureauEdition of 1,000

All measurements are given in centimetres: height x width x depth

Selection committee for the 2004 Samstag Scholarships:Kay Lawrence, John Barbour, Lauren Berkowitz

The Samstag Program is grateful for the support of Bank of America Private Bank, Florida, USA, trustee of the estate of Gordon Samstag.